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“Časopis (O)gled” predstavlja formu "proširene monografije" posvećene savremenoj umetnosti.

Prodajna mesta: knjižare Službeni glasnik Beograd, Novi Sad, Niš, Subotica, Čačak, knjižare Delfi SKC i Knez Mihailova, Beograd, knjižara Zepter, Muzej Jugoslavije
Primerci se mogu nabaviti i narudžbinom putem maila [email protected]

28/11/2024

REGIONALNO IZDANJE ČASOPISA (O)GLED◼️

Zadovoljstvo nam je da najavimo početak rada na Regionalnom izdanju časopisa (O)GLED u
saradnji sa Muzejem savremene umjetnosti Republike Srpske, Banja Luka i podržanom od
strane British Council-a kroz projekat “Kultura i kreativnost za Zapadni Balkan”.

Izdanje će okupiti umetnike, istoričare, kritičare i teoretičare umetnosti, kustose I aktere
umetničke scene iz regiona zemalja Zapadnog Balkana, sa namerom istraživanja fenomena
umetničke prakse u kovitlacu kriza – geopolitičke, finansijske, ekološke, te krize prouzrokovane
pojavom novih tehnologija.

Prvo regionalno izdanje časopisa (O)GLED biće promovisano u maju 2025. godine.

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REGIONAL EDITION OF THE ART MAGAZINE (O)GLED◼️

We are pleased to announce the launch of the Regional Edition of the magazine (O)GLED, in
collaboration with the Museum of Contemporary Art of the Republic of Srpska, Banja Luka, and
supported by the British Council through the “Culture and Creativity for the Western Balkans”project.

The edition will bring together artists, art historians and critics, art theorists, curators, and key
figures from the art scene in the Western Balkans region, with the aim of exploring the
phenomena of artistic practice amidst the whirlpool of crises – geopolitical, financial, ecological,
and those caused by the emergence of new technologies.

The first regional edition of the magazine (O)GLED will be promoted in May 2025.

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The “Culture and Creativity for the Western Balkans” (CC4WBs) is a project funded by the
European Union that aims to foster dialogue in the Western Balkans by enhancing the cultural
and creative sectors for increased socio-economic impact.

15/11/2024

◼️Hvala svim učesnicima konferencije “Kodiranje pogleda” i svima koji su podržali projekat.

Radujemo se sledećem događaju i nastavku saradnje!

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Konferenciju “Kodiranje pogleda” podržali su Vlada Švajcarske, u okviru programa “Kultura za
demokratiju”, koji sprovodi Hartefakt fond, Ministarstvo kulture Republike Srbije, Muzej
savremene umetnosti, Beograd, Ambasada Kraljevine Holandije u Beogradu i Ambasada
Švedske u Beogradu.

Fotografije: Dejan Đurašinović i Tamara Stojanović

Grafički dizajn i animacija: Željko Petrović

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◼️Thank you to all the participants of the Conference "Coding the Gaze" and everyone who supported the
project.

We look forward to the next event and continued collaboration!

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Conference "Coding the Gaze" was supported by the Swiss Government, through the "Culture for
Democracy" program, implemented by the Heartefact Fund, the Ministry of Culture of the Republic of
Serbia, the Museum of Contemporary Art, Belgrade, the Embassy of the Kingdom of the Netherlands in
Belgrade, and the Embassy of Sweden in Belgrade.

Photo: Dejan Đurašinović and Tamara Stojanović

Graphic design and animation: Željko Petrović

29/10/2024

◼️Uroš Krčadinac

Algorithmic Poetics

Tuesday, November 5 th , 14.30 – 15.30

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

In the age of automation, algorithms, digital data, and machine media, where is the creative
space for us humans? What kind of space is it? How do we create it? How do we nurture it?

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Uroš Krčadinac (b. 1984) is a digital artist, software engineer, author and educator. His
transdisciplinary practice includes programming, writing, animation and artistic cartography. He
holds a PhD in Informatics from the University in Belgrade. Uroš published his research papers
in the M21 IEEE journals, while he exhibited his artistic works at numerous solo and group
exhibitions, festivals and conferences in Serbia and abroad. As an educator and public lecturer,
he designed and held over a hundred public lectures, forums and workshops. He has held
several solo exhibitions in Serbia and abroad. He is the co-author of one infographic travel
novel. He currently works as an associate professor of digital arts and computing at the
Department of Digital Art, Faculty of Media and Communications in Belgrade. He also works as
a research associate at the "GOOD OLD AI" laboratory of the Faculty of Organizational Sciences,
University of Belgrade and as a visiting professor at the Department of New Media Art at the
Academy of Arts in Novi Sad.

Web: krcadinac.com

Photo Credit: Goranka Matić

28/10/2024

◼️Darija Medić

Toxic Agents of the Attention Economy

Monday, November 4 th , 12.30 – 13.15

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

Presentation situates the phenomenon of deceptive design patterns into the broader social
framework of the attention economy, and explores the interaction patterns of algorithmic
policing and manipulation based on social obligation, which skew end user perception and
enforce interaction without informed consent. The examples show that deceptive design
patterns exhibit a disciplinary function through what I call toxic agents, behavioural interaction
patterns that mirror toxic human behaviour in order to subordinate end users. Given the
detrimental effect toxic behaviours create over time, these findings raise questions about the
implications of such an oppressive interaction environment on user agency, consent and
discrimination.

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Darija Medić is a tactical media artist, practice-based researcher and media designer
investigating contemporary agential labyrinths of cohabiting with technical infrastructures and
their sociopolitical ecosystems. In particular, her work addresses the barriers to equitable user
experience design from a critical materialist and disability justice standpoint. Combining a range
of media into low tech participatory installations, interventions and performances she creates
collective processes for sensitizing, sometimes absurd, politically laden points behind the space
where technical mediation and prosumer habituation meet.

She is currently a Tenure Track Assistant Professor of Digital Design in the Department of Visual
Arts at the College of Arts & Media, University of Colorado Denver and is completing her Ph.D.
at the Intermedia Art Writing and Performance Program at the University of Colorado Boulder.
She is also a lecturer at the SHIFTA Creative Computing Master program for the module
Internet Equalities.

25/10/2024

◼️Hinda Haned

Deconstructing AI saviorism: your AI is not as useful as you think (Online presentation)

Monday, November 4 th , 15 – 16

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

Applications of machine learning (ML) models with social impact have been at the center of
increased focus of (top-tier) ML conferences and workshops. While many AI algorithms are
framed as relevant in solving issues of societal relevance, few succeed in adding value to their
target domain. For example, a Nature study* reviewing hundreds of ML-based studies related
to Covid19 detection, revealed that none of the proposed solutions were of potential clinical
use. Unfortunately this won& #39;t come as a surprise to many AI scientists: it seems like too many of
us have disengaged from solving real problems, and we have been focusing on showing the
superiority of our own solutions through empirical gains on high-profile use cases such as
Covid19 detection. In this talk, Haned will challenge this state of affairs, which she refers to as
AI saviorism: the propensity of considering AI-systems or algorithms as saviors. Haned will
discuss how we could tackle AI saviorism in practice and create strategies and incentives to
move the field forward.

https://www.nature.com/articles/s42256-021-00307-0.pdf

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Hinda Haned is a Responsible AI advisor, founder of Owls & Arrows, a company specialized in
data science consultancy and algorithmic auditing. She is also a leading advocate for
responsible AI practices and advises companies on building efficient and ethical data science
processes.

24/10/2024

◼️Jelena Guga

Behind the Algorithm: Human Labor, Bias, and Power Structures in AI Art

Tuesday, November 5 th , 10.45 – 11.30

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

This presentation advocates for an interdisciplinary approach that integrates art, technology,
and social critique to rethink AI’s role in society and foster more transparent, equitable
systems. Critical and tactical AI art provides a compelling method of resistance, as artists use
creative interventions to expose the biases and hidden labor behind generative AI systems.
These artworks challenge algorithmic authorship and interrogate the power structures that
shape both AI technology and the social relations it influences. They offer new perspectives on
how these technologies impact human agency and social power, while envisioning alternative
futures where technology amplifies diverse voices rather than silencing them.

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Jelena Guga is a theorist of new media art and culture currently working as a research fellow
and coordinator of the Digital Society Lab at the Institute of Philosophy and Social Theory,
University of Belgrade. She was a postdoctoral fellow at the Department of Interdisciplinary
Activities, Research Center for New Technologies, University of West Bohemia (Plzen, Czech
Republic) and a visiting researcher at the SPECS Lab at Pompeu Fabra University (Barcelona,
Spain). She explores the issues of identity, corporeality, agency, and perception in
technologically mediated interactions and immersive environments through an interdisciplinary
approach, combining art theory, (new) media theory, cultural studies, critical posthumanism,
philosophy of mind, as well as dystopian science fiction narratives. She is also engaged in
curatorial work at the intersection of art, science, and technology. She is the author of Digital
Self: How We Became Binary and a number of academic articles in international publications.

22/10/2024

◼️Computational Mama

Measuring Silences: Absence of Bodies in AI (Online presentation)

Tuesday, November 5 th , 12 – 12.45

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

This talk will take you through the practice of Computational Mama who has been researching
and working at the intersection of AI, coding and motherhood. We will talk about diffusion
based image generators and prompting as an act of unearthing dataset biases in both open
source and closed source models.

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Computational Mama’s work explores coding, art and generative AI as a form of camaraderie,
friendship, motherhood and self-care. She develops and facilitates beginner content and
workshops for creative computation, new approaches to computational thinking and the use of
generative AI tools. Her generative AI work explores the biases inherent in large data and
generative AI, and she has been exploring the spaces where motherhood and AI converge.

She was a 2021 Processing Fellow and 2020 BeFantastic Fellow, a speaker at Assembling
Intelligence, HEAD, Geneva, NYU, Shanghai, BIC, Bump Festival 2023 and more; she has been
featured in Casey Reas’ (co-founder Processing) recent list of generative artists doing
interesting work.

Her work has been featured in Bangalore International Center (2024), India Art Fair (2022) and
Vorspiel / transmediale & CTM (2021).

She also co-runs a creative technology studio called Ajaibghar and Head Developer Relations at
Gooey.AI.

Photo Credit: Aline Henchoz

21/10/2024

◼️Zorica Đergović-Joksimović

Utopian and Feminist Interactions and Intersections: the Female Gaze

Monday, November 4 th , 13.15 – 14

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

Presentation explores the relationship between utopian literature and (radical) feminist ideas.
It provides a brief overview of the development of the feminist issue in the genre of Utopia.
Special attention is paid to various representations of the myth of the Amazons as members of
an all-female community. An interdisciplinary approach is applied, since both utopian and
feminist ideas appear not only in literature but in different sciences and the media, and in
philosophy, comics and film.

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Zorica Đergović-Joksimović is a full professor in the Department of English Studies, Faculty of
Philosophy, University of Novi Sad, Serbia, where, among other courses, she teaches Utopia in
English Literature, Dystopia in Literature and Film, and Science Fiction. Zorica Đergović-
Joksimović is the author of Utopija: alternativna istorija (Utopia: An Alternative History). She
has published numerous articles, including “Serbia Between Utopia and Dystopia“, “The Poetry
of Estrangement or Utopia Suviniana“ (both in Utopian Studies), and “Teachers and Students of
Utopia: Lessons from Serbia” in Liam Benison (Ed.), Utopian Possibilities: Models, Theories,
Critiques (U. Porto Press, Portugal, 2023). She edited Embracing Utopian Horizons, a collection
of her MA students’ utopian stories, and was a guest editor of the thematic issue „Konteksti:
Utopija“ („Contexts: Utopia“) in the journal Književna istorija (Literary History). The most recent
book publication edited by Zorica Đergović-Joksimović is Anglofona naučna fantastika kod Srba
(Anglophone Science Fiction in Serbia).

18/10/2024

◼️Steph Maj Swanson

AI’s Katabatic Turn

Data belongs to the Underworld

Tuesday, November 5 th , 12.45 – 13.30

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

In the age of generative AI, the world of data gains something like a life of its own. Artist Steph
Maj Swanson traces our collective journey to the realm of the dead, drawing from examples
such as the rhetoric surrounding OpenAI& #39;s Sora and her very own AI cryptid, Loab.

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Steph Maj Swanson () is a multimedia artist and writer based in Sweden. She
is best known as the creator of Loab, an AI-generated cryptid which quickly became a subject of
online debate, videos, podcasts, fan art, academic writing, and international media
coverage—with The Atlantic dubbing Loab “a form of expression that has never existed before”
and Wired drawing comparisons to the work of de Sade. Steph’s visual art has been described
by Galleries West as “the merging of repulsive with beautiful.” Her writing, which has appeared
in Vice, takes a critical stance towards AI. After its debut last year at DEF CON, Steph’s deepfake
film Su***de III was selected to screen at New York’s Museum of the Moving Image and at this
year’s Videomedeja festival in Novi Sad.

Photo credit: Kristina Chap

17/10/2024

◼️Selena Savić

Confabulating with the Norm. Resisting the Apparent Inevitability of Generative AI

Tuesday, November 5th, 10 – 10.45

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

This talk explores the formation of 'knowledge bodies' that are engendered in/with large language models (LLMs) currently available on the Internet. Extending the concerns for problematic sourcing of training data, the exclusion of specific experiences, and the concentration of machine learning innovation in the Silicon Valley, the suggestion here is that the non-, weird- or (im)possible embodiment of datasets and language models has important implications for humanities research of AI, and for the possibility of resistance through feminist and decolonial approaches. Combining cultural studies of data with data science techniques and performative experimentation with Llama, this research will document experiments in conversations with generative chatbots as a post-qualitative, post-disciplinary method. It is an invitation to think about (im)possible embodiment as tactics for refusing and complicating the binary choice between technocratic and technophobic narratives around data.

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Selena Savić is an Assistant Professor for Proto-history of Artificial Intelligence and Machines in the Arts at the University of Amsterdam. After a PhD at EPFL and an SNSF-funded postdoc at ATTP, TU Vienna, Savić was a senior researcher and the Head of the Make/Sense PhD programme at the Basel Academy of Art and Design. Her recent publications include two edited volumes, Radio Explorations, and Teaching Artistic Strategies, 2024, transcript Verlag. Selena Savić teaches and writes and conduct researches about digital archives, computational modelling, feminist materialism and posthuman networks in the context of art, design and architecture. Her current research addresses data and measurement, offering a generative perspective on the interrelations between technicity for making and circulating art.

15/10/2024

◼️Annet Dekker

Networked co-curating: in between darkness, leaks, testimonies and fabulations

Monday, November 4 th , 11 – 12

Conference “Coding the Gaze”

Salon of the Museum of Contemporary Art, Belgrade

This presentation weaves together personal experiences, collaborative initiatives, and critical
analyses to explore the evolving landscape of cultural heritage in the digital age. Focusing on
networked co-curating, it analysis three art projects to emphasize the opportunities at the
intersection of human and technological agency. Key themes include the impact of technology
on digital heritage, the changing role of users in co-curating, and narrative exploration of
historical events. These examples offer insights into the evolving practices of cultural heritage
in an online context, shaped by the dynamic interplay between people and machines.

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Annet Dekker is a curator and researcher. Currently she is Associate Professor Archival and
Information Studies and Comparative Cultural Analysis at the University of Amsterdam and
Visiting Professor and co-director of the Centre for the Study of the Networked Image at
London South Bank University. She has published numerous essays and edited several volumes,
among others, Documentation as Art (co-edited with Gabriella Giannachi, Routledge 2022) and
Curating Digital Art. From Presenting and Collecting Digital Art to Networked Co-Curating (Valiz
2021). Her monograph, Collecting and Conserving Net Art (Routledge 2018) is a seminal work in
the field of digital art conservation.

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14/10/2024

“Kodiranje pogleda - Tehnologija, umetnost i društvo: Feminističke perspektive”

Salon Muzeja savremene umetnosti, Beograd
Pariska 14
4 - 5. novembar

Pozivamo vas na konferenciju posvećenu temi kodiranja pogleda i umnožavanja društvenih nejednakosti korišćenjem novih optičkih medija i računarskih programa.

Učesnice/ci: Annet Dekker (Univerzitet Amsterdam), Selena Savić (Univerzitet Amsterdam), Steph Maj Swanson (umetnica, Švedska), Hinda Haned (Owls & Arrows, Amsterdam), Jelena Guga (Instit. za filozofiju i društvenu teoriju, Bgd), Darija Medić (Univerzitet Boulder Colorado), Computational Mama (Ajaibghar, India), Zorica Đergović-Joksimović (Filozofski fakultet, Novi Sad) i Uroš Krčadinac (FMK).

Konferencija je podržana od strane Vlade Švajcarske, u okviru programa “Kultura za demokratiju”, koji sprovodi Hartefakt fond, Ministarstva kulture Republike Srbije, Muzeja savremene umetnosti, Beograd, Ambasade Kraljevine Holandije u Beogradu i Ambasade Švedske u Beogradu.

Više www.ogled.org

Conference “Coding the Gaze - Technology, Art and Society: Feminist perspectives”

Salon of the Museum of Contemporary Art, Belgrade
Pariska 14
November 4 - 5

We have the pleasure to invite you to a conference discussing how new optical media and computer programs are coding the Gaze and reinforce social inequalities.

Participants: Annet Dekker (University of Amsterdam), Selena Savić (University of Amsterdam), Steph Maj Swanson (artist, Sweden), Hinda Haned (Owls & Arrows, Amsterdam), Jelena Guga (Instit. for Philosophy and Social Theory, Bgd), Darija Medić (University of Colorado Boulder), Computational Mama (Ajaibghar, India), Zorica Đergović-Joksimović (Faculty of Philosophy, Novi Sad) and Uroš Krčadinac (FMK).

Supported by the Government of Switzerland, within the “Culture for Democracy” program, which is implemented by the Heartefact Fund, the Ministry of Culture of the Republic of Serbia, the Museum of Contemporary Art, Belgrade, the Embassy of Kingdom of the Netherlands in Belgrade and the Embassy of Sweden in Belgrade.

More on www.ogled.org

23/09/2024

◼️Logo projekta

Autor: Željko Petrović

Predlog piktograma, kao grafičkog simbola koji se odupire fiksiranim i statičnim normama identiteta. Oblik piktograma je blurovan, nejasnih ivica.

Zamagljenost forme I pozicija izvan balansa koje istovremeno generišu i utisak pokreta, dinamičnost i fleksibilnost.

Svedenost piktograma asocira i na obrnutu formu uzvičnika, sa namerom isticanja značaja teme i skretanja pažnje na prepoznate probleme.

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Željko Petrović

Grafički dizajner, studirao na Fakultetu za medije i komunikaciju Univerziteta Singidunum, Beograd. Radio je na organizaciji, realizaciji i vizuelnom identitetu nekoliko izložbi (Ulična Galerija, Galerija nauke i tehnike SANU, Galerija Prostor, Galerija Magacin ). Njegov rad je zasnovan na miultidisciplinarnim medijalnim istraživanjima, od UX/UI dizajna, dizajna plakata, logotipa, preko dizajna publikacija i eksperimentalnih audio-vizuelnih formi.

16/09/2024

◼️Rodni (dis)balans revolucije 5.0: Tehnologija i feminizam

Projekat o identifikaciji, prenošenju, osnaživanju i osporavanju rodnih predrasuda u procesima mašinskog učenja

Kodiranje pogleda korišćenjem novih optičkih medija i računarskih programa, (re)konstrukcija ženskog identiteta u kontekstu pojave novih tehnologija, te prenošenje i multipliciranje nejednakosti i predrasuda koje su postojale i koje postoje u društvu, a koje se eksponencijalno šire putem novih tehnologija.

Projekat “Rodni (dis)balans revolucije 5.0: Tehnofeminizam i umetnost”, nastoji da prati i analizira te procese kroz istraživačke studije koje će biti prezentirane u okviru konferencije “Kodiranje pogleda -Tehnologija, umetnost i društvo: Feminističke perspektive” kao centralnog dela ovog projekta. Konferencija će biti održana u Muzeju savremene umetnosti, Beograd, 4. i 5. novembra uz učešće velikog broja akademskih istraživačica i istraživača, aktivistkinja, profesorki, umetnica i teoretičarki umetnosti iz zemlje i inostranstva.

Iako se i dalje vodi debata o tome da li Industrijska revolucija 4.0. još uvek predstavlja aktuelni razvojni koncept, Evropska unija je marta 2020. godine donela novi strateški dokument , u kome se navode ciljevi i prioriteti do 2030. godine, i u kome se govori o Revoluciji 5.0. kao novoj razvojnoj paradigmi Evrope. No, najviše smo se odlučili za termin Revolucija 5.0. jer označava i korektivni pogled na obeležja Industrijske revolucije 4.0. koju neki smatraju tekućom, a koja počiva na automatskim tehnologijama, veštačkoj inteligenciji, mašinskom učenju.

Projekat je podržan od strane Vlade Švajcarske, u okviru programa “Kultura za demokratiju”, koji sprovodi Hartefakt fond, Ministarstva kulture Republike Srbije, Muzeja savremene umetnosti u Beogradu, Ambasade Kraljevine Holandije u Beogradu i Ambasade Švedske u Beogradu.

12/09/2024

◼️Drugačije ispričana priča

Od Meri Vulstenkroft (1759 – 1797), filozofkinje, začetnice feminizma, spisateljice i zastupnice za ostvarenje ženskih prava i prava na obrazovanje (“Odbrana prava žena”, 1792) i njene ćerke Meri Šeli (1797 – 1851), čiji roman “Frankeštajn” vodi ka stvaranju žanra naučne fantastike, spoj feminističke misli i naučne fantastike vodio je ka razvoju uzbudljivog polja “misaonih eksperimenata”, kako je to kasnije nazvala Ursula Le Gvin.

“Naučna fantastika je, na neki način, prirodno prijemčiva za bilo kakav oblik radikalnog mišljenja, jer govori o stvarima koje se nisu dogodile i koje se ne događaju. Ovaj žanr posebno odgovara prikazima problema bilo koje marginalizirane grupe, jer vam omogućava da ih iznosite unutar sveta u kome su stvari drugačije” (Joanna Russ).

Ilustracije

Meri Šeli (levo, deo slike, Richard Rothwell , 1840) i Mery Vulstenkroft (desno, deo slike, John Opie, 1797)

Roman “Mizora” autorke Mary E. Bradley Lane, objavljen 1880-1881. godine, jedno od prvih dela feminističke naučne fantastike.

Klasik žanra feminističke naučne fantastike “Herland” autorke Charlotte Perkins Gilman iz 1915. godine.

O preispitivanju roda u “The Left Hand of the Darkness” Ursula Le Guin, 1969.

“Woman on the Edge of the Time” Marge Pearcy iz 1976.

09/09/2024

◼️Okvir akademskih interesovanja

Janet Abbate, “Recoding gender” (2012) - Uloga žena u razvoju računarstva i posebno programiranja (koje se u smatralo ženskim poslom, za razliku od muževnijeg zadatka pravljenja samih računara) u periodu tokom i nakon Drugog svetskog rata.

Marie Hicks, “Programmed Inequality” (2017) razlozi sistematske diskriminacije žena kao najkvalifikovanijeg osoblja u polju računarstva.

Caroline Criado Perez ,“Invisible Women” (2019) - Rodna pristranost i diskriminacija koji su ugrađeni i u sisteme obrade podataka. Korišćenje, eksploatacija i manipulacija podacima, za razumevanja odnosa rodne nejednakosti i novih tehnologija.

Catherine D’Ignazio i Lauren Klein, “Data Feminism” (2020) - Novi način razmišljanja o podacima i etici podataka, sa aspekta intersekcionalnog feminizma. Kako se mogu osporiti hijerarhijski i empirijski pogrešno postavljeni sistemi klasifikacije?

Judy Wajcman, “Feminism confronts technology” (1991), “TechnoFeminism” (2004).” Rod je podjednako važan faktor u oblikovanju organizacije rada, koliko I klasni odnosi.”

Reč je o moći, o tome ko je ima, a ko nema, i o tome kako se te razlike moći mogu osporiti i promeniti.

Prva ilustracija: Segment rukopisa Mary Wollstonecraft “A Vindication of the Rights of Woman”, 1792.

05/09/2024

◼️“Zaista me je iznenadilo kada sam videla da su svi ti muškarci programeri. Mislila sam da to je to zensku posao!” (Elsie Shutt, zaposlena u kompaniji Raytheon, 1953, citirano u “Recoding Gender” Janet Abbate, 2012)

Iako je od 1970-ih godina objavljivanje biografskih studija o velikim naučnicama služilo kao korisna korekcija za glavne tokove istorije nauke, vremenom se fokus pomera sa posmatranja uloge izuzetnih žena, na ispitivanje opštih obrazaca o učešću žena u tehnici i nauci, do samih procesa u kojima se tehnologija razvija i koristi.

Od biografija Rozalind Frenklin, Barbare MekKlintok, za oblast računarstva posebno važnog mesta Ejde Lavlejs (Ada Lovelace) kao prve programerke, odnosno autorke algoritma za analitičku mašinu Čarlsa Babedža (Charles Babbege) 1843. godine, te uloge žena u daljem razvoju računara - priča koja pripada i istoriji Drugog svetskog rata, danas je fokus feminističkih istraživanja usmeren prema patrijarhalnoj strukturi same nauke i tehnologije.

Kao što Maria Mies, poznata nemačka sociološkinja i marksistička feministkinja, tvrdi da apsolutno nema razlike da li žene ili muškarci primenjuju i kontrolišu ovu tehnologiju. Ova tehnologija je sama po sebi instrument dominacije.

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Ilustracije:

Ada Lovelace

Ada Lovelace, Note G, prvi program napisan za analitičku mašinu Čarlsa Babedža, 1843.

Operaterke IBM kompanije, Švedska, 1930.

E.R.A./Univac (Universal Automatic Computer) 1103, oko 1950.

Dorothy Du Boisson i Elsie Booker tokom rada na dekodiranju šifri na kompjuteru Colossus, 1943.

02/09/2024

◼️Beleška iz istorije ugrađenih pristrasnosti u mediju fotografije

Kodakova Shirley karta

Prenošenje i osnaživanje rodnih i rasnih predrasuda, može se pratiti već tokom analogne ere razvoja fotografije. Sredinom 20. veka ljudska lica i dijagrami boja beleženi su na način koji je diktirao sam način razvijanja i obrade filma.

Tokom 1950-ih godina Kodak je kreirao Shirley Card, koja je postala standard za kalibraciju boja u foto laboratorijama širom sveta. Shirley karte su bile zasnovane na svetlijim nijansama kože i boje kose, na osnovu čega je svetlija koža postala osnova za sve fotografije u boji. Ovaj sistem razvijanja fotografija u boji, sa svojim postojećim predrasudama, jednostavno je samo prenet u digitalno polje.

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Ilustracije:

Primer Kodakove Shirley card, 1978, Hermann Zschiegner

Adam Broomberg i Oliver Chanarin, “To Photograph the Details of a Dark Horse in Low Light”, 2013. (naslov koji se odnosi na šifrovanu frazu koju je Kodak koristio da opiše dilemu povodom mogućnostii filma tokom 1980-ih da na adekvatan način uhvatiti i prikaže tamnu kožu)

John Akomfrah, My Body Is The Monument, 2021.

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◼️Hvala svim učesnicima konferencije “Kodiranje pogleda” i svima koji su podržali projekat. Radujemo se sledećem događaju i nastavku saradnje! / Konferenciju “Kodiranje pogleda” podržali su Vlada Švajcarske, u okviru programa “Kultura za demokratiju”, koji sprovodi Hartefakt fond, Ministarstvo kulture Republike Srbije, Muzej savremene umetnosti, Beograd, Ambasada Kraljevine Holandije u Beogradu i Ambasada Švedske u Beogradu. Fotografije: Dejan Đurašinović i Tamara Stojanović Grafički dizajn i animacija: Željko Petrović /// ◼️Thank you to all the participants of the Conference "Coding the Gaze" and everyone who supported the project. We look forward to the next event and continued collaboration! / Conference "Coding the Gaze" was supported by the Swiss Government, through the "Culture for Democracy" program, implemented by the Heartefact Fund, the Ministry of Culture of the Republic of Serbia, the Museum of Contemporary Art, Belgrade, the Embassy of the Kingdom of the Netherlands in Belgrade, and the Embassy of Sweden in Belgrade. Photo: Dejan Đurašinović and Tamara Stojanović Graphic design and animation: Željko Petrović #KonferencijaKodiranjePogleda @HeartefactFund #switzerlandinserbia #kulturazademokratiju #cfd #heartefact @msub_mocab @nlinbelgradeh @swedeninbelgrade

◼️ U novom (O)GLED-u ◼️ DUBRAVKA SEKULIĆ ◼️ ZAJEDNICA SE KROZ BORBU STVARA “Tek nakon materijalno-strukturne analize prostora, možemo se baviti i estetskom analizom problema, koja, iako neodvojiva od materijalnih uslova, često može biti dimna zavesa što onemogućava razumevanje srži problema.” Dubravka Sekulić u svom radu analizira uzroke različitih društvenih fenomena, ideje i kontekste, formuliše probleme, razmatra razloge društvenog kolapsa. Koristeći potencijale bavljenja arhitekturom koji podrazumevaju i, zapravo, zahtevaju kretanje između različitih disciplina – ekonomije, politike, sociologije, filozofije, geografije… – Sekulić razume da se za svaki problem moraju pronaći odgovarajuća čvorišta, koja sintetišu poglede i znanja iz različitih disciplina, na osnovu kojih je onda moguće dati predlog daljih aktivnosti i modela delovanja. / Dubravka Sekulić je arhitektica, teoretičarka arhitekture i edukatorka. U svom radu bavi se pitanjima transformacije savremenih gradova, kao mesta gde se ukrštaju pitanja produkcije prostora, zakona i ekonomije. Diplomirala je na Arhitektonskom fakultetu u Beogradu. Dve godine je bila istraživačica na Jan van Eyck Akademiji u Mastrihtu, nakon čega je bila istraživačica-doktorantkinja na Institutu za istoriju i teoriju arhitekture ETH u Cirihu (2013–2016), a kao vanredna profesorka radila je na IZK Institutu za savremenu umetnost Tehničkog univerziteta u Gracu (2016–2020). Doktorirala je na Institutu za istoriju i teoriju arhitekture ETH u Cirihu 2020. godine, obrađujući temu odnosa jugoslovenske građevinske industrije i Pokreta nesvrstanih, sa disertacijom „Izgradnja nesvrstanosti: Slučaj ’Energoprojekta’ 1961–1989“. Trenutno predaje na Royal College of Art u Londonu, gde je voditeljica master programa City Design. #casopisogled #novipolis #dubravkasekulic

◼️ U novom (O)GLED-u ◼️ SELENA SAVIĆ ◼️ PUTOVANJA S KONCEPTIMA Selena Savić je istraživačica i diplomirana arhitektica, trenutno vanredna profesorka na Univerzitetu u Amsterdamu, gde istražuje i predaje Protoistoriju veštačke inteligencije i mašina u umetnosti. Rad Selene Savić obeležava hibridna forma praktičnog bavljenja dizajnom i istraživanje koje se odnosi na materijalnost podataka, kodova i komunikacije. Njeno delovanje kreće se u polju gde se susreću računarski procesi i postkolonijalna kritika tehnologije, kao i istraživanje tehničkih, društveno-političkih i ekoloških aspekata veštačke inteligencije. U okviru najrecentnijeg istraživačkog pravca obraća se pitanjima generativne genealogije, koju izučava u kontekstu materijalističke geofilozofske prakse, koja je istovremeno kritična i kreativna. Sa Selenom smo govorili o prostoru i zajednici, o potrebi depolarizacije stavova i mišljenja, o antikolonijalizmu i antiimperijalizmu, feminizmu, interdsciplinarnoj propusnosti, te o mogućnostima mišljenja budućnosti. / Nakon diplomiranja na Arhitektonskom fakultetu u Beogradu, Savić je završila i studije dizajna medija u Roterdamu, te doktorirala na Saveznoj politehničkoj školi u Lozani (EPFL) i na Višem tehničkom institutu u Lisabonu. Završila je postdoktorske studije na Odseku za teoriju arhitekture i filozofiju tehnike (ATTP) na Tehničkom univerzitetu u Beču (TU), gde je bila i gostujući predavač 2017. i 2018. godine. Do 2023. radila je na Akademiji za umetnost i dizajn Univerziteta primenjenih nauka i umetnosti Severozapadne Švajcarske (FHNW) u Bazelu, gde je vodila doktorski program „Make/Sense“ i predavala na Institutu za eksperimentalni dizajn i medijsku kulturu. Suosnivačica je časopisa za interdisciplinarna istraživanja u arhitekturi „Contour“, a nalazi se i u uredničkoj redakciji lista Technics Journal. Priredila je dve knjige: Unpleasant Design (2013) i Ghosts of Transparency (2019),

✅ Naslovna strana EYE TO I 🔨 Hefestov čekić i tokovi društvenih, istorijskih, političkih i individualnih sila 🎨 Grafički dizajn i koncept korica: Željko Petrović Rešenje korica novog izdanja časopisa EYE TO I zasnovano je na motivu Hefestovog čekića (koji je kod Homera zabeležen kao prvi izumitelj automata, mašine koja pruža iluzuju samostalnog kretanja) i tokova sila koje usmeravaju kretanje ljudskog rada i imaginacije. (Iz uvodne reči “EYE TO I”) ___________________ ✅ EYE TO I No 2 COVER PAGE 🔨 Hammer of Hephaestus and flow of social, historical, political and individual forces 🎨 Graphic design and cover page concept: Željko Petrović Cover page design was inspired by Hephaestus’s hammer and flow of social, economical, historical and individual forces guiding human actions and imagination. (From the Introduction) #eyetoimagazine #zeljkopetrovic